For decades, Maurizio Nannucci has preserved exhibition invitation cards. The collection comprises both invitations and announcements from artists whose approaches to art are close to his own. Yet many also come from wider circles of artist friends, colleagues, galleries, and museums, allowing a chronology of relationships and information exchanges to emerge. The selection in this volume makes visible how this kind of communication – often conceived by the artists themselves – superimposes the purely informative value of the printed matter with the freedom of artistic expression; evidence of a holistic practice where such cards can become artworks in their own right.

Completed in 1975, this oft-referenced dissertation by Regina Cornwall was revised and enlarged for the current publication. The book presents and interprets the seminal years of Snow’s artistic production in film and photography, in 8 chapters, illustrated with black and white images.

*Please note this publication is secondhand and may have some traces of previous ownership.

Published on the occasion of the Michael Snow retrospective, held at Anthology Film Archives, New York, 3 December–14 December, 2021. Including the full series texts, a filmography, a republished piece by P. Adams Sitney from 1976, and Raymond Foye’s 2021 interview with Snow.

Pied-à-terre is a space run by McIntyre Parker from 2009 – ongoing. This publication gathers texts and contributions by artists, curators, and writers who visited or worked with Pied, forming a subtle portrait of the project.

With contributions from Benjamin Ashlock, Kim Bennett, Amanda Gracia Blanco, Juliette Blightman, Alice Channer, Shannon Ebner, Anthony Huberman, Blueberry Elizabeth Morningsnow, Kim Nguyen, Josh Minkus, K.R.M. Mooney, McIntyre Parker, Scott Ponik, Lisa Radon, Nick Raffel, Sophia Rhee, Michael Snow, Jordan Stein, Diego Villalobos, Hazel White.

Offset printing by Gary Robbins, sewing and letterpress by Aaron Flint Jamison.

Produced on the occasion of the travelling exhibition Michael Snow: Works 1969-1978, Films 1964–1976 at Kunstmuseum Luzern, 4 March–22 April 1979; Rheinisches Landesmuseum Bonn, 2 August–9 September 1979; and Städtische Galerie im Lenbachhaus München, 16 October – 25 November 1979.

Michael Snow (1928–2023) was one of the world’s leading experimental filmmakers, having inspired the Structural Film movement with his groundbreaking film Wavelength, 1967. Snow’s extensive and multidisciplinary oeuvre includes painting, sculpture, video, film, sound, photography, holography, drawing, writing, and music.

The Halifax Conference presents a transcript of a conference held at the Nova Scotia College of Art and Design on October 5–6, 1970, transcribed and adapted by artist Craig Leonard.

Organized by Seth Siegelaub, the Conference was conceived as a means of bringing about a “meeting of artists…[from] diverse art making experiences and art positions…in as general a situation as possible.” Infamously, the conference was held in the college’s boardroom, while students and other interested parties watched the proceedings on a video monitor in a separate space. The result was a conversation that devolved—technologically and ideologically—into a quasi-tragicomic farce, punctuated by remarkable moments of rupture initiated by activist resistance to the Conference from the outside and dissenting voices from within.

Attendees at the conference included Carl Andre, Joseph Beuys, Ronald Bladen, Daniel Buren, Gene Davis, Jan Dibbets, Al Held, Mario Merz, Robert Morris, Robert Murray, N.E.Thing Co. (Iain and Ingrid Baxter), Richard Serra, Richard Smith, Robert Smithson, Michael Snow, and Lawrence Weiner.